The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the resurgence of populist movements, the pushback against progressive values, and the return of narrow beauty standards. Replacing the hope of the previous decade, today a more divisive political figure appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the response has always been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from politics.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this moment will end."

A New Wave of Consciousness

He draws solace in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

His formative years would define a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds."

Defying the caricature of industry figures as loud and temperamental, Enninful is calm and exudes calm. His life has included its share of hardship, including publicly shared periods of depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has inspired him away from the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"The establishment didn't always promote the truly innovative creators because they lacked the expected background," he observes.

This venture itself uses a different business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a proof to the power of defying expectations.

How would the Enninful of that era think of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."